SECRETS OF THE MASTER (PART 1 OF 2)
TRIPLE OSCAR-WINNING CINEMATOGRAPHER, VITTORIO STORARO AIC ASC, SHARES HIS EXPERIENCES OF SHOOTING WOODY ALLEN’S ROMANTIC COMEDY CAFÉ SOCIETY DIGITALLY, AND OFFERS SOME SAGE ADVICE FOR UP-AND-COMING CINEMATOGRAPHERS.
Although I have used High Definition video and digital capture technology for well over thirty years, Café Society was my first real experience in long-form digital capture. I wanted the opportunity to express my personal views about the many different aspects of digital cinematography on this production. I perceive, and worry, that some cinematographers today do not feel they need to know much about the technology they are using, the history of cinema, the visual arts, nor, perhaps, cinematography in the future. I hope what follows will be of interest and help, particularly to younger cinematographers who are at the early stages of their careers.
Human beings have expressed themselves using visual arts for millennia. They painted graffiti on the walls of caves, then on wood, canvas, photographic and cinematographic emulsions – in B&W, colour, widescreen, 3D stereo and 360-degrees – using analogue and, more recently, digital means.
The “medium” wasn't and isn't the most important thing: it changes in different periods of time. But, the “idea” was, is and will always be the main concern of the human mind, and this should be exactly so for the cinematographer.
I do not believe that cinema is really different in either analogue or digital form, so long as we carry history, knowledge and a genuine love for the arts into our work. Whatever the medium we choose as cinematographic artists, we have the means, and we must remain determined, to express ourselves in ways that can give new purpose to our own creative lives and evoke emotions in those who watch our work.
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Vittorio Storaro in Lisbon